IN FOCUS: Fifteen Years after 9/11 What Keeps Me Up at Night: Media Studies Fifteen Years after 9/11 by ANNA FROULA We will stay At War with that mysterious Enemy for the rest of our lives. —Hunter S. Thompson, September 12, 20011 s the United States’ long wars in Afghanistan and Iraq wind down (or have they?), only three-quarters of 1 percent of Americans have served in combat, leaving the vast majority of the population untouched by the effects of war and subject to cable news’ often distorted and always censored portrayals of Asoldiers’ experiences. Andrew Bacevich, a former US Army colonel and current Boston University professor—whose son was killed in Iraq in 2007—argues that the widening gap between citizen and military personnel “has created a nation that has an abiding appetite for war waged by an Army that’s not capable of achieving victory.”2 Bacevich is hardly alone in his criticism of this soldier-civilian gap. As James Fallows bluntly put it in 2015, “As a country, America has been at war nonstop for the past thirteen years. As a public, it has not.”3 Lacking direct experience, many Americans have turned to film and television representations to try to understand these events as they continue to unfold, as new forms of warfare, including secret surveillance and 1 Hunter S. Thompson “Fear & Loathing in America,” ESPN Page 2, September 12, 2001, http://proxy.espn.go.com/espn/page2/story?id=1250751. 2 “A Push to Bridge the Gap between Soldiers and Citizens,” Here & Now, September 2013, http://hereandnow.wbur.org/2013/09/02/bacevich-soldiers-citizens. 3 James Fallows, “The Tragedy of the American Military,” Atlantic, January–February 2015, http://www.theatlantic.com/magazine/archive/2015/01the-tragedy-of-the-american-military © 2016 by the University of Texas Press © 2016 by the University of Texas /383516/. www.cmstudies.org 56 | No. 1 | Fall 2016 111 Cinema Journal 56 | No. 1 | Fall 2016 drone assassinations, have increased under President Obama’s tenure as commander in chief. No longer linguistically the War on Terror or even adequately captured by the euphemism “overseas contingency operations,” the United States’ global military interventions have become, to borrow W. J. T. Mitchell’s words, “an inscrutable, shadowy structure, not a clear legible figure or space. [They are] about invincibility, secrecy, and [horror] without spectacle.”4 Is it any wonder that, amid American drone- warfare expansion in the Middle East, the current iteration of “terror TV” narratives, as Stacy Takacs argues in her essay in this section, have replaced celebratory stories about securing democracy through national strength with suspicion about government- backed terrorism and insidious surveillance?5 Or that ongoing talks about Top Gun 2, the sequel to a film that did much heavy lifting to “remasculinize” the United States and strengthen the image of American military might post-Vietnam, focus on 1980s fighter pilots Maverick (Tom Cruise) and Iceman (Val Kilmer) reuniting to confront a new era of drone warfare?6 Not surprisingly, then, media scholars have been analyzing the resulting discursive shifts, tropes, and representations of terrorism, war, and surveillance in popular culture since 9/11. Cinema Journal has featured some of this work in earlier In Focus sections— “Teaching 9/11” and “Science Fiction, Thrillers, and the War on Terror”—and in feature articles.7 The book reviews accompanying this section attest to new ways of reading both earlier post-9/11 texts and those emerging now. Because global military spending is on the rise for the first time since 2011, the range of topics and texts to consider are also increasing exponentially, which makes the field of “post-9/11 media studies” a problematically broad topic.8 Thus, as Jim Castonguay noted in the War and Media Studies SIG meeting during the SCMS conference of March 2016, now would be a useful time to establish more formal methodologies within the field, which will be challenging, given the range of papers and approaches at SCMS alone. Business is booming in war and media studies, which is in and of itself tragic, yet it 4 W. J. T. Mitchell, Cloning Terror: The War of Images, 9/11 to the Present (Chicago: University of Chicago Press, 2011), 137. Here Mitchell is describing images of terrorism in works of art. Emphasis in original. 5 See Yvonne Tasker, “Television Crime Drama and Homeland Security: From Law & Order to ‘Terror TV,’” Cinema Journal 51, no. 4 (2012): 44–65; Stacy Takacs, Terrorism TV: Popular Entertainment in Post-9/11 America (Lawrence: University Press of Kansas, 2012). 6 See Susan Jeffords, The Remasculinization of America: Gender and the Vietnam War (Bloomington: Indiana University Press, 1989), and Hard Bodies: Hollywood Masculinity in the Reagan Era (New Brunswick, NJ: Rutgers University Press, 1994). See also Ben Child, “Top Gun Sequel to Feature Tom Cruise versus Drones Storyline,” The Guardian, June 29, 2015, http://www.theguardian.com/film/2015/jun/29/top-gun-sequel-to-feature-tom-cruise-versus-drones-storyline. 7 See “In Focus: Teaching 9/11,” ed. Louise Spence, Cinema Journal 43, no. 2 (2004): 90–126; “In Focus—In the Long Shadows of 9/11: Science Fiction, Thrillers, and the War on Terror,” ed. Will Brooker, Cinema Journal 51, no. 1 (2011): 145–179. See also, e.g., “In Focus: The Media and the New Cold War,” ed. Dennis Broe and Louise Spence, Cinema Journal 43, no. 4 (2004): 96–135; Jason Middleton, “The Subject of Torture: Regarding the Pain of Americans in Hostel,” Cinema Journal 49, no. 4 (2010): 1–24; Lori Harrison-Kahan, “Inside Inside Man: Spike Lee and Post-9/11 Entertainment,” Cinema Journal 50, no. 1 (2010): 39–58; Tasker, “Television Crime Drama; “In Focus: Homeland,” ed. Diane Negra and Jorie Lagerwey, Cinema Journal 54, no. 4 (2015): 126–158. 8 Jon Gambrell, “Global Military Spending Nearly $1.7T amid Mideast Conflicts,” Associated Press, April 4, 2016, http://bigstory.ap.org/article/d9a7ab6fb5f4430db369b80c696e62fb/global-military-spending-nearly-17t-amid -mideast-conflicts. 112 Cinema Journal 56 | No. 1 | Fall 2016 means there is much work ahead for scholars to keep apace with the ways in which film and other media are attempting to grapple with the current terms of these wars in ways that public discourse, including recent presidential campaigns, has not. While this In Focus does not define such a methodology, it does call attention to the shifts in the kinds of storytelling currently mediating what Takacs describes as today’s military-industrial-surveillance complex and recognize exciting new work and approaches in the field. What follows here is an effort to sketch emerging and ongoing scholarship on the so-called War on Terror and its intersections in compounding global crises. In other words, this is an overview of the seemingly ever-impending disasters that have plagued the popular imagination in the wake of US and multinational responses to 9/11 and that continue to reengender fear in the collective unconscious. I include some of the excellent work presented at the SCMS conference of March 2016 because it is a snapshot of the directions in which the field is headed and it demonstrates how (mostly American) popular culture has largely moved beyond mediating the trauma of September 11, 2001, “an event,” wrote Will Brooker five years ago, “so unique and unnameable that it lies beyond words and can only be gestured to through numbers.”9 Yet the codification of “9/11” as the moment “when everything changed” and its subsequent commodification in political and popular culture has rendered it somewhat inert, its tragedies slowly untethering from the wars that the United States prosecuted in response.10 Mediating 9/11’s national and personal trauma has shifted to remediating its geopolitical reverberations. The dynamics of a historical event and its cultural memory create a “transmedial phenomenon, which is realized, over and over, by means of those media technologies that a community has at its disposal and to which it ascribes the potential of creating ever greater immediacy and memorial truth.”11 The aftermaths of 9/11 have compounded chaos in warzones and increased national and international surveillance. They intersect with crises in climate change and infrastructure readiness (or lack of readiness), global hunger, increasingly hypertoxic environments, and “superbugs,” such as the Zika virus. Such intersections suggest a wider scope of “post-9/11 texts.” For example, Emily Satterwhite’s reading of the “hillbilly horror” Wrong Turn 2: Dead End ( Joe Lynch, 2007), in which the devastation of southern Appalachia by capitalist mountaintop coal removal casts the impoverished cannibals as “victims of a toxic post-industrial landscape,” underscores the neglect— and abuse—of the domestic home front in the name of military spending.12 The United States’ dependence on fossilized energy sources to maintain—and motivate— its military-industrial complex maps a different kind of domestic conflict zone onto 9 Will Brooker, “Introduction,” Cinema Journal 51, no. 1 (2011): 145–148, 146. 10 See Dana Heller, ed., The Selling of 9/11: How a National Tragedy Became a Commodity (New York: Palgrave, 2005). 11 Astrid Eril and Ann Rigney, Mediation, Remediation, and the Dynamics of Cultural Memory (Berlin: Walter de Gruyter, 2009), 9. See also J. David Bolter and Richard Grusin, Remediation: Understanding New Media (Boston: MIT Press, 1999). 12 Emily Satterwhite, “Backwood Slashers and the Politics of White Masculinity,” unpublished—a published version of this essay is forthcoming: “The Politics of Hillbilly Horror,” in Navigating Souths: Transdisciplinary Explorations of a US Region, ed. Michele Coffey and Jodi Skipper (Athens: University of Georgia Press, forthcoming 2017). 113 Cinema Journal 56 | No.